Almost there. was constructed using vibrators that are sonically controlled and some very trusting contributors. Over the last two years, these contributors recorded their voices for me, while masturbating with the vibrators. The audio they were using was composed by myself specifically for this project. Ten participants were included in the project, with a mix of genders and a variety of sexual identities. The vibrators pulse in time with the sounds that are being sent to them. The participants made sounds in response to, and in time with, the sounds being heard. These ten recordings were then synchronized to the original composition, and mixed back into it.

My interest in this project has been motivated by my realization of the complexities in working sound, and its similarities to my experience of the erotic. Sound offers a large amount of depth to work with, individual sounds can be overlapped, their timbres mixed to create textures greater than the sum of their parts. A composition appears to me as a mix of different ecosystems firing simultaneously to create a gestalt. The erotic for me works the same way, as a similar gestalt, but the complexities are a little more unknown to me, and a prospect I wanted to explore further. Sights, sounds, memories, desires, rhythms, and smells all play a part in creating what is erotic to each individual, a multitude of potential variations.

In contemplating this project, it has been an interesting by-product to create something that not only explores this notion of the erotic, but appears to me (as a listener) to create something uniquely erotic in itself.

Biography:

Todd Anderson-Kunert

Todd Anderson-Kunert (AU), based in Melbourne, has an interdisciplinary arts practice that engages with releases, performance, and installation, all with a variety of temperospatial considerations. He has released seven solo albums, as well as appeared on a variety of compilations and split releases. He engages with recording as a form of sonic sculpture within a multitrack studio environment, and uses a range of techniques including sampling, synthesis, field recording, and processing. His last full length 12" album, When there is nothing left to say, was reviewed in Vital Weekly (number 1045) as being “... not about noise indeed, even when some of this comes close; it is however much more than that. This is noise of the variety that calls for more thought and greater care.”